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人类艺术伊甸园·中国第二届视觉艺术双年展·宋庄站高峰论坛·黄岩(文)

Eden Garden of Human Art, 2nd China Biennale of Visual Art, Peak Forum of Songzhuang Station, Huangyan (article)

 

 

中国艺星网/编发/愉悦

China Yixing network/editor/Cheerful

 

 

在中国宋庄书画印美术馆举办“新时代  新文人——中国第二届视觉艺术双年展”

The Second Biennial Exhibition of Chinese Visual A

rt, New Literator of the New Era, held at Songzhuang Museum of Calligraphy, Painting and Printing, China

 

 

在中国宋庄书画印美术馆举办“新时代  新文人——中国第二届视觉艺术双年展”

The Second Biennial Exhibition of Chinese Visual A

rt, New Literator of the New Era, held at Songzhuang Museum of Calligraphy, Painting and Printing, China

 

 

“新时代 新文人——中国第二届视觉艺术双年展”第二站宋庄站

Songzhuang Station, the Second Biennial Visual Art Exhibition of China

 

 

“新时代 新文人——中国第二届视觉艺术双年展”第二站宋庄站贵宾合影

"New Literature in the New Era: The Second Biennial Exhibition of Visual Art in China" The second stop is Songzhuang Station.

 

 

“新时代 新文人——中国第二届视觉艺术双年展”第二站宋庄站贵宾合影

"New Literature in the New Era: The Second Biennial Exhibition of Visual Art in China" The second stop is Songzhuang Station.

 

 

开幕式会场

Opening ceremony venue

 

 

黄岩先生主持开幕式

Mr. Huang Yan presided over the opening ceremony

 

 

高峰论坛会场

Summit forum venue

 

 

黄岩先生主持高峰论坛

Mr. Huang Yan presided over the Summit Forum


        人类的时间简史是什么?人类历史上的几次地理大发现诞生了几门交叉的学科,直到今天我们才能命名为“地球学”这样一门学科。回放“地球学”的地理志,无数地理志的节点都会呈现命名之后的空间发射、放射状态、他伴随无数个漂浮的人类自我的基因,以种族、姓氏、信仰、艺术、政治形态在人类制造的时间标尺中存在,所以人类的时间简史等同于人类文明的简史,在回放这种人类的文明简史的地理标注,像中国敦煌、保定、北京故宫、宋庄、不论时间简史有多长、多短、都有着内在的逻辑关联,我们拿着这张地图或藏宝图就不会被一些次生的个体生命体的信息所干扰,这种“人种学”发出的波长主要呈现在两个点位上,一个是文字史的波长、一个是图像史的波长,人类史在我们的星球自传中,中国呈现一种叫“书法”谱系标注系统,图像史在中国呈现一种叫“文人艺术”及混搭的多维艺术形态,而我们星球人类的海陆空坐标在人类纪元2019年5月7日中国宋庄北塘书画印艺术空间发射的文人艺术波,不是中国三皇五帝的波、秦皇汉武的波、魏晋之士的波、唐宗宋祖的波、赵孟頫的波、董其昌的波、蔡元培的波、梁启超的波,波长对应的即是世界艺术史的变局,又是人文艺术地理每一个艺术家的小宇宙,这种艺术扫描还是对迟到的“艺术光谱学”的追认,也是人类世界艺术复兴在信仰层面的再确认,我们艺术家在此时此刻时间点位上,空间点位上相聚,以诗书画印加行动,重要的是体能释放的书写系统,绘画系统的自我绽放与现场呈现,我们用“高峰论坛”夹杂自我家乡 语音、方言的方式自我表达描述自己的肖像史、 DNA个案艺术谱系时,宋庄此刻此在“伊甸园”构建了我们人类新的乡愁“艺术乡愁”……

 

                      黄岩2019年5月7日7点59分写于北京工作室

 

    What is the brief history of human time? Several great geographical discoveries in human history gave birth to several interdisciplinary disciplines. Until today, we can not name it as "Geoscience". Playing back the geographic records of "Geoscience", the nodes of numerous geographic records will present the space emission and radiation state after the naming, and he accompanies numerous floating human self-genes, which exist in the time scale of human manufacture in terms of race, surname, belief, art and political form. Therefore, the brief history of human time is equivalent to the brief history of human civilization. Playing back this kind of human culture. Geographical annotations of concise history, such as Dunhuang, Baoding, Beijing Palace Museum and Songzhuang in China, have inherent logical connections no matter how long, how short or how short the brief history of time is, we will not be disturbed by the information of some secondary individual organisms when we hold this map or treasure map. The wavelength of this "ethnology" is mainly presented at two points. One is the length of the history of writing. One is the wave length of image history. In The Autobiography of our planet, the history of mankind presents a pedigree labeling system called "calligraphy". The history of image presents a multi-dimensional art form called "literati art" and blending in China, while the coordinates of land, sea and air of human beings on our planet launch literati art wave in the space of calligraphy, painting and printing art of Beitang, Songzhuang, China, on May 7, 2019, not. The waves of the three emperors and five emperors of China, the Qin Emperor and the Han Wubo, the scholars of Wei and Jin Dynasty, the Tang Zong and Song Zu, Zhao Mengfu, Dong Qichang, Cai Yuanpei and Liang Qichao correspond to the changes in the history of world art and the microcosm of each artist in the geography of Humanities and arts. This kind of artistic scanning is also the recognition of the late "art spectroscopy" and human beings. Reconfirmation of the world's artistic renaissance at the level of belief. At this moment, our artists meet at the point of time, space and space, and act with poetry, calligraphy and painting. What is important is the writing system of physical release, the self-blooming and on-site presentation of the painting system. We describe our portrait history and DNA in the way of "Peak Forum" mixed with self-home voice and dialect. In the pedigree of case art, Songzhuang is now in the Garden of Eden to construct our new nostalgia of human beings -- "artistic nostalgia"...

 

              Written at 7:59 on May 7, 2019 in Beijing Studio

 

黄岩介绍:

 

1966 年 4 月 14 日生于中国吉林省吉林市船营区大东门 1 分部院内。 父亲,黄万明,1931 年 9 月 22 日出生于吉林省敦化县,母亲,刘秀春,1938 年 7 月 16 日出生于吉林省长春市。

    1967 年,1 岁,由姥姥于桂贤照顾。

    1968 年,2 岁,开始读图、由姥姥讲一些小人书和满族的故事,妹妹黄兰出生。

    1969 年,3 岁,父母两地分居,父亲工作在长春防化学院,母亲在吉林市 209 医院,经常随母亲去省城长春看父亲,父亲经常带着黄岩在长春人民文化宫看样板戏。

    1970 年,4 岁,父亲从省城长春防化学院也调来 209 部队医院工作,弟弟黄山出生。

    1971 年,5 岁,举家从吉林市大东门迁往吉林市江南 222 部队大院家属宿舍,上吉林市 222 医院幼儿园,经常随弟弟妹妹去 222 部队大院边的机场养牛场打牛奶,并开始学习音乐、绘画。

    1972 年,6 岁,父亲爱好广泛精通小提琴、大提琴、手风琴、口琴、父亲还爱好无线电,经常自己组装半导体,这对黄岩影响极大。

    1973 年,7 岁,上 46 军部队八一小学,这是一个寄宿学校,每周末由母亲骑自行车接送,开始过一种集体生活,同一宿舍的同学经常有一些小的摩擦,这对少年的黄岩影响极大。

    1974 年,8 岁,转上吉林市 24 小学,班主任刘老师,开始在田间地头学习数学和语文,当时部队大院的同学玩伴有张文、李忠、范军等。 1975 年,9 岁,开始画画,受母亲影响,画和临摹一些小儿书中的图像,开始练习书法,“批林批孔”进入高潮,在小学的教室内涂写“批邓”的大字报。 1976 年,10 岁,画熊猫的作品参加吉林市昌邑区少年美术作品展,获一等奖,经常在夜晚等待部队电影院大门外蹭票看电影。

    1977年,11岁,开始学习绘画,经常去临江门姨姥家,那是一个满汉族杂居的地方,过年也去老姨在九站的家,跟同班的同学联系密切,开始有一些收藏的嗜好,如烟纸、古钱币,经常扒一些部队大院的垃圾, 这成为黄岩的嗜好。

    1978 年,12 岁,先就读于吉林市 29 中,父亲母亲从吉林解放军 222 医院转业到长春,父亲分到长春铁路医院、母亲分到吉林省新华印刷厂,黄岩开始就读于长春市 92 中学,同年拜省城长春山水画名师 王淮学习山水画,王淮家住南关棚户区,酒量大苦临名画,给黄岩留下深刻印象。

    1979 年,13 岁,在学习山水画的同时,住在铁路医院公共家属宿舍、性格开始孤僻,开始读一些文言文的传统书籍,如《金刚经》,在书籍中对世界有了一些基本的认识。

    1980 年,14 岁,开始在铁路医院的院子里画一些写生的绘画、那是一个伪满时期的日本医院的格局,院子里长满了樱花、桑树、丁香,一到春天院子里都是各种花,黄岩沉浸在这种花海中,与写生为伴、 绘画成为他排泄自己孤独的一种方式,开始认知八大、扬州八怪、齐白石等。

    1981 年,15 岁,上长春市艺术高中开始画石膏像、几何形体,正规接收现代美术教育。

    1982 年,16 岁,开始接触西方现当代艺术,遇到恩师王长百,与同班同学王景新、徐勇赞等人开始画一些现代主义的水彩、水粉作品,开始在长春老虎公园写生。

    1983 年,17 岁,在长春市宽城区吴淞路 9-5-206 室铁路医院新分的住宅中画一些超现实主义和表现主义结合的绘画。

    1984 年,18 岁,考上长春师范学院,开始泥版绘画,并做了一批有超现实主义色彩的,将禅宗理念与西方艺术结合的油画、同一年开始在大学里写诗,并组织了诗社流放地,姥姥于桂贤去世。

    1985 年,19 岁,创作长诗 -“人界”,这首诗是八十年代汉语诗歌的一个事件。同一年,跟同学汪涤洋、徐赢经常去校园边的庄稼地写生,开始创作一批泥版绘画,并创作受包豪斯、构成主义影响的风 格史研究的水粉画。

    1986 年,20 岁,诗歌走向越来越极端,创作了很多图形诗、语义诗、也作了一些墨拓的实验,跟王长百越来越密切,经常在他的家里讨论那时的文化问题、艺术问题、哲学问题,并在创作中和王长百完 成了泥版向版像的转型,并和同班同学张铁梅热恋。

    1987 年,21 岁,毕业分配到长春大学特殊教育学院,在同年在长春大学闲置的体育馆里,和王长百作了两个月的泥版、非泥版拓印实验,在视觉上为 1988 年的“版像艺术展”提供了各种成型的拓印符号。 恋人分配到吉林市工艺美术研究所,黄岩在一年的时间里经常往返于长春、吉林市两地。

    1988 年,22 岁,和张铁梅结婚,4 月在东北师范大学组织参加了“版像艺术展”,经常和王长百、路明、关大我、王力、朱方相聚,讨论艺术、哲学,长春的八五美术新潮运动进入高潮。

    1989 年,23 岁,3 月儿子黄墨出生,和儿子渡过了一年慢时光,经常陪儿子在长春儿童公园里玩耍,王长百去深圳,这一年和李静群、朱方、关大我、杜跃春、贾涤非等人组织了长春 80 年代最后的现代 艺术的展览,随后长春的现代艺术进入低潮。 

    1990 年,24 岁,黄岩和关大我、王长百做了中国最早的泥版画商业推广,那时深圳、广州、北京、上海已经出现了画廊,黄岩发明了一些泥版拓印植物和昆虫的新技法,并发明了套色泥版技法。

    1991 年,25 岁,5 月参加“北京西三环艺术研究文献资料展”中国北京西三环中国画研究院,开始关注流行文化、城市问题。

    1992 年,26 岁,10 月参加“九十年代中国首届艺术双年展”油画部分获提名奖,(中国广州会展中心 ),11 月“首届亚洲艺术博览会”(中国香港艺术中心),开始在长春市吴淞路 9-5 号 206 室制造“邮 件艺术”——毛泽东诞辰一百周年系列和邮件装置。

    1993 年,27 岁,开始在长春市宽城区吴淞路、上海路等街区实施拓印拆迁建筑物行为,第一次用城市考古学的方式,用传统拓碑的方式,以长春城市为半径实施的艺术行为。

    1994 年,28 岁,黄岩在长春市卫星路长春大学宿舍内第一次将山水画在自己的脸上,1 月参加“后 89 中国新艺术展”英国伦敦马勃洛画廊,12 月“黄岩等八人摄影版画联展 ”在中国香港汉雅轩画廊举办。

    1995年,29岁,在长春大学教室里完成了雕凿一把椅子的行为,同一年还完成了地景作品《包》,“邮件艺术”开始用不同的形式,信封也是不同的尺寸,并在自己的邮件艺术内容增加了文学创作、章回小说、 雾里看花,开始制造“黄岩新闻”。

    1996 年,30 岁,以长春市斯大林大街为中轴线实施了捡垃圾的行为,拓印拆迁建筑的城市有北京、西安、贵阳、重庆、上海、苏州、南京,3 月 14 日生日当天虚拟自杀,以电子图像仿照片的方式制造了 卧轨自杀现场,这成为那一年最轰动的艺术事件。

    1997 年,31 岁,5 月 “黄岩 1997 邮件艺术个展”(中国北京当代美术馆),实施行为艺术 -“死亡的 108 种方式”,用手电光开始拍摄观念摄影 -“蜜月房间”,用电子虚拟技术改造老照片 -“中国克 隆技术在 1949”,拍了一系列 VIDIO 作品。9 月举办“新影像观念摄影艺术展”,开始频繁来往于北京、长春两地,入选冯博一编写的《黑皮书》,认识艺术家庄辉、苍鑫、邱志杰、焦应奇、艾未未等。

    1998 年,32 岁,在长春市卫星路实施“新静物”行为,和“肉 .-22℃”, 参加 11 月“偏执艺术展”(中国北京私人空间),“传统,反思艺术展”(中国 北京德国使馆),12 月“影像志异—中国新观 念影像艺术展”(中国上海大学美术学院画廊),“中国汉字艺术展”(美国 纽约 Bard 学院美术馆),在长春组织策划了“0431-1998 录像电脑艺术展”,和南京艺术家金锋、周啸虎相聚在长春。

    1999年,33岁,参加1月 “开放的真实中国观念摄影”(泰国曼谷大学美术馆),加拿大精艺轩,3月 “媒体的干预”(中国香港艺术公社),9月 “红色中国”(英国维多利亚博物馆),9月 “异质的书写方式”(中 国 南京师范大学美术馆 ),12 月“传统视觉影像” ( 中国上海大学美术学院画廊 ),12 月“世纪之门 1979—1999 中国艺术邀请展”( 中国 成都现代艺术馆 )。 

    2000 年,34 岁,参加 3 月 “反思传统个展” ( 中国 香港汉雅轩画廊 ),2 月“艺术大餐”( 中国 北京私人空间 ),5 月“人与动物展” ( 中国长春 竞技神酒吧 ),7 月“中国魅力展”( 中国 上海 东廊 ), 7 月“现代四人摄影展”( 英国 伦敦 中国当代艺术画廊 ),8 月“人文山水展”( 中国 广西桂林 ),9 月“后物质展”( 中国 北京红门画廊 ),10 月独立策划“第三性网络艺术展” ( 中国 北京 北大在线 ), 10 月“不合作方式”( 中国 上海 东廊 )。

    2001 年,35 岁,参加 3 月 " 虚拟未来 " 艺术展 ( 中国 广州,广东美术馆 ),4 月 " 数码艺术展 " ( 中国北京 藏酷新媒体艺术中心 ),4 月 " 煲 " 中国当代艺术展 ( 挪威,奥斯陆艺术家中心 ),5 月 “火 红,火红”中国当代艺术展,( 中国北京红门画廊 ), 6 月 " 新媒体、新感觉 " 中国新媒体艺术活动周,( 中国北京 北京大学,藏酷,歌德学院 ),9 月 " 重新洗牌 " ( 中国 深圳雕塑院 ),10 月 ART FORUM 艺术博览会,( 德国柏林 ),10 月“失重”( 德国, 柏林 ),11 月 " 方案艺术展 "  ( 中国上海海上山艺术中心 ),12 月“知识就是力量”( 中国北京西单图书大厦 ),12 月“ 对话 ”( 意大利米兰 ),12 月“成都双年展”( 中国成都现代美术馆 )。

    2002 年,36 岁,参加 1 月 “第三状态”艺术展  ( 意大利米兰 ),2 月 “澳大利亚、阿德雷德国际艺术节”( 澳大利亚 阿德雷德 ) ,4 月 “造梦、肖像群像”  ( 中国、上海东廊 ),5 月 “放大、中 国新媒体艺术”( 中国北京大学 ),7 月 “与你有关影像装置展”( 中国、天津、文化实践空间),7 月 “首届北方独立影像展”(中国、北京藏酷新媒体空间),9 月 “长春国际独立影像展”(中国长 春、东北师范大学),9 月 “长春当代艺术年度邀请展”(中国 长春远东艺术馆),9 月 “首届中国艺术三年展”(中国、广州艺术博物馆),9 月 “墨尔本艺术博览会”(澳大利亚墨尔本),9 月 “巴 黎,北京” (法国巴黎),10 月“广州艺术三年展”(中国、广州美术馆),10 月“以色列影像双年展”(以色列 特拉维夫),10 月“山水精神”黄岩个展 (中国厦门欧洲艺术中心),开始和策展 人赵树林合作,在一些中国城市的公共空间、大学里做影像艺术节。

    2003 年,37 岁,参加 1 月 “影像中国黄岩个展”(美国 纽约),1 月“中以影像艺术展”(中国 北京以色列大使馆),2 月“赶集”(中国 北京香格里拉艺术公社),3 月“瞳距测量,深圳录像艺术节” (中国 深圳),4 月“波兰国际录像艺术节” (波兰 华沙),5 月“意大利国际录像艺术节”(意大利 罗马),5 月“延伸与突破”陶艺展 (中国 广东美术馆),6 月“布拉格双年展”(捷克 布拉格), 7 月“幻影天堂”展  (捷克 布拉格), 9 月“中国第四届国际行为艺术节”(中国 长春),9 月“穿越中国国际影像艺术节”(中国 北京,长春,哈尔滨等地),9 月“中国,以色列录像艺术展” (中国 以色列大使馆 ),10 月“巴西圣保 罗影像双年展” ( 巴西  圣保罗 ),12 月黄岩《山水故事》个展 ( 中国 北京红门画廊 )。  

    2004 年,38 岁,参加 1 月“中国艺术现在代”MARELLA 画廊 ( 米兰  意大利 ),2 月 Bologna 艺术博览会   ( 意大利博洛尼亚 ),4 月“身体中国”法国马赛现代艺术博物馆,5 月“过去与未来之间—来 自中国的新摄影及影片”国际摄影中心及亚洲协会美国纽约 ,5 月“亚洲工厂”   ( 意大利博洛尼亚现代美术馆 ),5 月“过去与未来之间—来自中国的新摄影及影片”国际摄影中心及亚洲协会美国纽约。

    2005 年,39 岁,参加 3 月“喻体与镜像”  北京新锐艺术计划 798 北京,5 月英国当代黄岩个展  英国伦敦,5 月“M.Sigg 收藏展” 伯尔尼美术博物馆   瑞士,5 月“上班下班”   北京上下班书院     798 北京,5 月“临界—0 工厂”    ( 李向群工作室  798 北京 ),7 月 “悟” 黄岩个展   ( 北京红门画廊 ),8 月“构筑寓言”展   ( 李向群工作室   798  北京 0,9 月“瓷”展  (玛斯德比当代艺 术中心 798  北京),12 月‘界 两端’ 当代实验艺术设计展, (何香凝美术馆, 深圳),12 月“后书法”展  (玛斯德比当代艺术中心 798 北京),在河南林州创立林州水墨艺术博物馆、林州国际 碑林艺术博物馆。

    2006 年,40 岁,参加 2 月 “禅画”黄岩个展  (北京 798 玛斯德比当代艺术中心),3 月“后电子影像”展  (玛斯德比当代艺术中心 798  北京 ),4 月“摄影世家 – 我、父亲、儿子三代人摄影联展” ( 玛斯德比当代艺术中心 北京 ),5 月“无边界的停顿”雕塑展 ( 玛斯德比当代艺术中心 798  北京 0,5 月‘兵临城下 – China/ 拆那’建筑艺术展,(706 空间东区,中国北京),5 月“中国的边缘” 来自上海,北京的新录像艺术,文选电影档案室,纽约,“废墟展”伊洛瓦艺术中心,芝加哥,7 月  黄岩个展  北京 798 程昕东国际艺术工作室,8 月 渡 当代水墨方式 天津美术学院美术馆,8 月 东北当代艺术展,(广东美术馆),9 月 上海"风水"艺术活动 ( 上海证大美术馆九间堂别墅区,东北当代艺术展 广东美术馆 ),10 月 黄岩个展  ( 荷兰 VIPS 国际艺术画廊 )

    2007 年,41 岁,参加 2 月“黄岩个展" ( 加勒比 Hotel Eden Rock, Saint Barth Island),2 月 “我们主导未来,第二届莫斯科双年展”,(俄罗斯,3 月 西班牙马德里 ARTIUM 当代摄影展),5 月“黄 岩个展” (皇城艺术馆  中国 北京),6 月“中国新陶瓷艺术展” (芬兰赫尔辛基国家美术馆),“威尼斯双年展 P.P.P 行为 – 纸 – 计划”( 威尼斯),7 月 “漫游 1- 黄岩个展”  (上海朱屺 瞻艺术馆  中国 上海),7 月”中国当代艺术的准则 视觉和表现法“ (罗马 意大利),9 月“漫游 2- 黄岩个展”( Open 实现艺术中心),9 月“漫游 3- 黄岩个展”  (玛斯德比当代艺术中心),9 月 “北京制造 1—韩国宏益大学现代美术馆学术展览”  (韩国宏益大学现代美术馆),9 月 “北京 BS1 当代美术馆 2007 年度艺术提名展”    (上海朱屺瞻艺术馆  北京皇城艺术馆),10 月 “北京 制造 2”   (上海多伦现代美术馆),11 月“底层人文”当代艺术家二十一方案展(宋庄 北京),12 月“天行健 - 中国当代艺术前沿展”  (亚洲艺术中心 北京) 

    2008年,42岁,参加3月“人体艺术” (美国山麓艺术中心  美国),3月 “哥德式入侵和不能命名”  (命题画廊),3月“互涉视界-中国当代艺术前沿展”   (上海多伦现代美术馆 上海 中国),3月  “临 界质量”  (黄岩当代艺术中心  中国 北京),4 月 “自由中国”  (瑞士基金会 卢加诺 瑞士),5 月“中国……前进!” (莫斯科 TSUM 百货大楼  莫斯科),6 月  “漫游 4- 黄岩个展”  (上海 朱屺瞻艺术馆  中国 上海),6 月 “十二生肖 - 黄岩油画个展”  (三尚艺术 . 北京空间),6 月 “2008 艺术巴黎”  (巴黎大宫  法国 巴黎),7 月 “逻辑的有限性 - 中国当代艺术” (798 根尚 艺术 中国 北京),7 月 “版 -20 世纪 80 年代长春新艺术运动”  (上海朱屺瞻艺术馆  中国 上海),7 月 “漫游 5- 黄岩个展”  (玛斯德比当代艺术中心  中国 北京),8 月  “我的 logo 当代艺 术展”  (亚洲当代艺术博物馆  中国 北京),8 月  “衍生的表象”   (伏墨空间  中国 北京),9 月  “北京 BS1 当代美术馆 2008 年度艺术提名展” ( 亚洲当代艺术博物馆  中国 北京),9 月  “两个端点 – 2008 华人当代艺术”  (甫力薩克宮  托美宙市  意大利),9 月  “啊 ! 我们—中国三十年当代艺术展”  (国家大剧院   中国 北京),9 月  “大俗大雅”   (地下 798   中国北 京),9 月  “上海艺术博览会”  (上海世贸商城  中国 上海),9 月  “虚城记”  (原弓美术馆  中国 上海),9 月  “移花接木”  (何香凝美术馆, 深圳),9 月  “转世肉身 / 越界之身”  (德 国柏林 Tope 艺术中心  德国 柏林),9 月  “釜山双年展”   (韩国),10 月 “第四届中国 • 宋庄文化艺术节 宋庄进行时”  ( 中国 北京 ),10 月 " 艺术慈善中国 -2008 中国当代艺术国际巡回展 " ( 中央美术学院美术馆  日本伊斯特艺术馆  香港展览中心)。 12 月 “符号学水墨 2008 年第一回”  (玛斯德比当代艺术中心中国北京),12 月  “指鹿为马 - 黄岩个展”  (亚洲当代艺术博物馆  中国 北京)。

    2009 年,43 岁,参加 1 月 " 黄岩个展 "  ( 米歇尔 Mosko 艺术画廊  美国 丹佛 ),1 月  " 身体艺术 "  (基石艺术中心  美国  科罗拉多斯普林斯),1 月  “重庆黄桷坪艺术节”  (重庆 501 当代艺 术馆  中国 重庆),9 月  “第一届燕格柏国际艺术节”  (燕格柏现代艺术博物馆  中国 承德),12 月  “后文人”  (玛斯德比当代艺术中心”中国 北京) ,12 月  “中国水墨双年展” (上海 多伦美术馆 中国 北京 、上海、林州、等 8 地巡展),开始转向中国当代水墨史的研究,并重新认识 20 世纪西方艺术史,有了构建中国新水墨艺术的理念,提出来“后文人艺术”。

    2010 年,44 岁,参加 3 月 “中国演艺” (美国 纽约),3 月 “后文人 2”( 美国 纽约 ETHAN COHEN 艺术中心),5 月 “瑞典行为艺术节” (瑞典 斯德哥尔摩国家美术馆),5 月 “巴黎博物馆之 夜” (法国巴黎 丹麦 艺术中心),6 月 “德国 2010 北方国际艺术节” (德国彼得尔斯多夫),7 月 “第二届燕格柏国际艺术节”  (燕格柏现代艺术博物馆  中国 承德),8 月 “798 多媒体艺术节” (中国 北京 798 创意广场),8 月 “草场地双年展” (中国 北京 草场地美术馆),9 月 “第 11 届 open 国际行为艺术节” (798 创意广场),10 月“2005-2010 黄岩回顾展”  (香港艺术中心), 12 月策划“来自中国的新水墨艺术” (美国迈阿密)。

    2011 年。45 岁,参加 5 月“书法 NO.1 群展”(上海多伦现代美术馆),5 月“水墨 NO.1 群展”(上海水墨艺术博物馆),5 月“中国荣宝斋拍卖展”(中国北京)。7 月“21 世纪中国新水墨艺术的十个 个案”(上海多伦现代美术馆),在上海成立水墨艺术博物馆,出版 800 艺术杂志,开始推动中国当代水墨艺术,做了一系列的中国文人艺术和西方硬边艺术结合的新水墨活动。

    2012 年,46 岁,参加 2 月“中国第一届国际水墨双年展”(大芬美术馆深圳),5 月 “江山如画 - 黄岩个展”( 北京德易家艺术生活空间),9 月“第一届林州国际和平友好艺术节”(河南林州),9 月“中 国钢雕国际艺术节”(北戴河),10 月“青梅竹马艺术展”(上海狮语画廊),12 月“新诺亚方舟展”(北京德易家艺术生活空间),提出了“量艺术”、“微艺术”等新艺术观念,并做了大量新艺术的实验。

    2013 年,47 岁,参加 4 月“第二届林州水墨双年展”(河南林州),4 月“新京派上海首展”(上海漾艺术空间),4 月“新京派上海展”(上海水墨艺术博物馆),4 月“水墨伊甸园”(上海礼园), 6 月“2013“启”新京派当代水墨北京首展”(北京怡达艺术收藏馆),6 月“首届中国长城国际当代艺术双年展”,9 月“草场艺术运动”(北京草场美术馆),9 月“第二届林州国际和平友好艺术节” (河南林州),10 月“十墨第一回之白庙”(北京宋庄白庙),10 月“十墨第二回之潮白河”(北京宋庄),11 月“第一届中国装置双年展”(北京当代美术馆),11 月“中国俞源现代水墨艺术节”(浙 江俞源),12 月“水墨:当代中国的过去即现在”(美国纽约大都会博物馆),12 月“第一届新京派艺术双年展”(北京新京派美术馆),这一年新京派正式命名,在一年的时间里在北京、上海、山东、 河南、浙江等地策划实施了一系列的不同于西方工业艺术的水墨艺术展览和艺术活动。

 

    On April 14, 1966, was born in China's jilin province jilin city ship big east gate 1 division hospital in the camps. Father, Huang Wanming, was born on 22 September 1931, jilin dunhua county, mother, xiu-chun liu, born on July 16, 1938 in changchun city of jilin province.


    1, 1967 years old, by my grandma in GuiXian care.


    In 1968, 2 years old, began to read the figure, the grandmother tell the story of some picture books and manchu, sister champak was born.


    In 1969, three years old, parents' separation and father work in changchun institute of chemical defense, mother in jilin city 209 hospital, often with his mother to go to provincial capital changchun to see father, father often watch model operas with huangyan in changchun people's cultural palace.


    In 1970, four years old, his father from the provincial capital changchun institute of chemical defense also transferring 209 army hospital work, brother huang shan was born.


    In 1971, five years old, the family from jilin city east moved to jilin city jiangnan unit 222 family members of the dormitory courtyard, jilin 222 hospital on kindergarten, often with the brother and sister go to airport, on the edge of unit 222 compound cattle milk, and began to study music and painting.


    In 1972, 6 years old, my father hobby is widespread is proficient in the violin, cello, accordion, harmonica, father love radio, often semiconductor assembly, the strong impact of huangyan.


    In 1973, seven years old, 46 army troops on bayi elementary school, it is a boarding school, every weekend from mother ride a bicycle transport, began to live a collective life, the same dormitory students often have a few small friction, the great influence on the young huangyan.


    Jilin city on 1974, 8 years old, turn to 24 primary school, the teacher in charge teacher liu, began to study math and language in the fields, when troops compound classmates play with Mr Zhang, sasihorfswe, Fan Jun etc. In 1975, nine years old, started painting, affected by the mother, copying the image in some children's books, paintings and began to practice calligraphy, "paying" in full swing, scrawled on elementary school classroom "deng" of posters. In 1976, 10, painting panda in jilin city changyi district youth art exhibition, won the first prize, often at night waiting for forces the cinema gate tickets for the movie.


    In 1977, 11 years old, began to study painting, often go to aunt linjiang door basking home, it is a place full of han mixed, New Year's day also to old aunts home at nine station, is closely related with her classmates, began to have some collection of hobbies, e.g. paper, ancient COINS, often pick some troops compound of garbage, which become a hobby of huangyan.


    In 1978, 12 years old, 29 in the first study in jilin city, the father mother turned to changchun from jilin people's liberation army 222 hospital, father assigned to the changchun railway hospital, the mother assigned to the jilin province xinhua printing plant, huangyan began to study in changchun city, 92 middle school in the same year thanks to the provincial capital changchun landscape painting masters Wang Huai study landscape painting, Wang Huai live can shantytowns, heavy drinker paintings in the bitter, impress huangyan.


    In 1979, at the age of 13, at the same time of learning landscape painting, in public railway hospital family dormitory, personality began to withdrawn, started to read some classical Chinese traditional books, such as the "diamond sutra", in the books have some basic understanding of the world.


    In 1980, 14 years old and began to draw some sketches in railway hospital yard of painting, it is a Japanese puppet period the pattern of the hospital, the yard filled with cherry blossom, mulberry, clove, one is all kinds of flowers in spring yard, huangyan immersed in this kind of flowers, and painting company, painting as a way to discharge his lonely, begin to cognitive eight, yangzhou eight eccentrics, qi baishi, and so on.


    In 1981, at the age of 15, changchun art high school began to draw on the plaster model, the geometric form, receives the modern fine arts education.


    In 1982, 16 years old, began to contact with western modern and contemporary art, u have met teacher wang, and classmates jing-xin wang xu and people began to draw some modernist works of watercolor, gouache, began to sketch in changchun tiger park.


    In 1983, 17 years old, in room 9-5-206 wide wusong city of changchun city railway hospital house painting of some new points and expressionist painting surrealism.


    1984, 18, admitted to changchun normal college, and began to paint mud version, and made a batch of surreal, combines zen philosophy and western art of oil painting, the same year began writing poetry at the university, and organize the exile group, grandma died GuiXian.


    In 1985, 19 years old, long poems - "form", this poem is an event of the Chinese poetry in the eighty s. That same year, her classmates Wang Diyang and xu win often go to the edge of the campus sketch, the ground began to paint to create a batch of clay tablets, Bauhaus, constructivism and creation by the influence of the wind case study of the history of gouache.


    1986, 20 years old, poetry to more and more extreme, created a lot of graphics poetry, semantic, also made some ink in the experiment, with king long more and more closely, frequently at his house to talk about at that time the culture, art, philosophy, and in the creation and the king long finish A mud version to version as transformation and madly in love and classmates tie-mei zhang.


    1987, 21 years old, graduated from assigned to special education college of changchun university, idle in the same year in changchun university gymnasium, and king long the two months of mud, the mud version rubbings experiment, on the vision for the 1988 "version like art" provides a variety of molding the rubbings of symbols. Lovers are assigned to jilin institute of arts and crafts, huangyan often in the course of a year from changchun, jilin.


    In 1988, 22 years old, married tie-mei zhang, April in northeast normal university organizations participated in the "version like art exhibition", often and king long hundred, LuMing, clearance, wang li, Zhu Fang harmoniously together, discuss art, philosophy, changchun weaving art fashion movement in full swing.


    In March 1989, 23 years old, son born yellow ink, and son spent a year spent in slow, often with son in changchun children's park to play, king long to shenzhen, this year and Li Jingqun, Zhu Fang, I close, Du Yuechun, Jia Difei people organized changchun last exhibition of modern art in the 80 s, then changchun modern art into the low tide.


    In 1990, 24 years old, huangyan and shut me, king long hundred of China's earliest mud prints business promotion, then shenzhen, guangzhou, Beijing, Shanghai has a gallery, huangyan invented some mud version of rubbings of plants and insects new techniques, and tinted mud techniques.


    In May 1991, 25, to participate in the study of "Beijing west ring art literature exhibition" China west ring of Beijing Chinese painting research institute, began to focus on popular culture, urban problems.


    In October 1992, 26, to participate in "China's first art biennale" in the ninety s oil painting some mention, (guangzhou, China, convention and exhibition center), "the first Asian art expo" in November (China), Hong Kong arts centre, in changchun wusong road, room 206, 9-5 manufacturing "mail bag art" - the one hundredth anniversary of the series of MAO zedong and email device.


    In 1993, 27 years old, began in changchun city wide wusong road, Shanghai road building blocks implementing rubbing demolition, such as behavior, for the first time with urban archaeology with traditional billiton tablet in changchun city for the radius of art behavior.


    In 1994, 28, huangyan in changchun satellite LuChangChun university dormitory for the first time the landscape painting in his face, in January after the "89 China's new art exhibition" Ma Boluo gallery, London December "huangyan etc. Eight people photography art exhibition" held in Hong Kong, China, han ya xuan gallery.


    1995, 29 years old, in changchun university of finished carving a chair in the classroom, in the same year also completed the landscape works "package", "art" email with different forms, the size of the envelope is different, and in your own email art content increased the literary creation, zhanghui novel, hazy, began to make "huangyan news".


    In 1996, 30 years old to changchun for Stalin street central axis to implement the behaviour of picking up trash, rubbing the demolition and relocation of buildings city Beijing, xi 'an, guiyang, chongqing, Shanghai, suzhou, nanjing, on March 14th birthday virtual suicide, in the form of electronic image copy pictures made throwing themselves in front of the scene, the most sensational in that year of art events.


    In May 1997, 31, "huangyan 1997 mail art solo exhibition" contemporary art museum, Beijing, China), the implementation of performance art - "108 ways of death", using a torch light began filming conceptual photography - "the honeymoon room", to transform old photos with electronic virtual technology - "China g technology" in 1949, took a series of VIDIO works. "New image conceptual photography art exhibition" held in September, began to frequent to and from Beijing, changchun, included in the "black book" prepared by feng boyi, zhuang hui know artists, pale xin, qiu zhijie, coke should be odd, ai weiwei, etc.


    In 1998, 32, in the implementation of the satellite of changchun city "still life", and "meat. - 22 ℃", in the November "paranoid art exhibition" (China) Beijing private space, "tradition, reflect on art exhibition" (China) the German embassy in Beijing, December "image log vision - China's new concept of reading image art exhibition" (China Shanghai university academy of fine arts gallery), "Chinese characters art" (Bard college art museum in New York, USA), organizational planning in changchun "0431-1998 computer video art exhibition", and nanjing artist XiaoHu products, weeks together in changchun.


    In January 1999, 33, to participate in the "open real conceptual photography in China" (national art museum of university in Bangkok, Thailand, Canada, fine arts, march "media intervention" (China) Hong Kong art commune, "red China" September (British museum Victoria), September in the writing of "heterogeneous" (in nanjing normal university art museum), December "traditional visual image" (university of Shanghai, China academy of fine arts gallery), December the door of the 1979-1999 "century Chinese art invitational exhibition" (China chengdu modern art gallery).


    In March 2000, 34, to participate in "rethinking the traditional solo exhibition" (China Hong Kong han xuan gallery), feb. "art feast" private space (Beijing, China), "people and animals exhibit" may god (changchun, China sports bar), July "charm" exhibition in China (Shanghai, China, east gallery), July "modern four exhibition" China contemporary art gallery (London), August "humanities landscape exhibition" (China's guangxi guilin), "material" exhibition after September red gate gallery (Beijing, China), October independent planning the "third sex network art exhibition" online) of Peking University (Beijing, China, October "no way" east gallery, Shanghai, China).


    In March 2001, 35, to participate in the "virtual future" ART exhibition (China guangzhou, guangdong museum of ART), April "digital ART" keep cool new media ART center (Beijing, China), "pot" of Chinese contemporary ART exhibition in April (Norway, Oslo artists center), may "fire red, red" in Chinese contemporary ART exhibition, red gate gallery (Beijing, China), June "new media, new feeling" Chinese new media ART cycle, (Peking University, Beijing, China, keep cool, Goethe institute), September "reshuffle" (China) of the shenzhen sculpture, ART FORUM ART fair in October, Berlin (Germany), the "weightless" (Berlin, Germany) in October, November "scheme ART exhibition" sea mountain ART center (Shanghai, China), December "knowledge is power" (Beijing xidan book building), "dialogue" in December (milan, Italy), December "chengdu biennale" (chengdu, China modern ART museum).


    In January 2002, 36, to participate in the "third state" art exhibition (milan, Italy), "Adelaide, Australia, the international art festival" in February (Adelaide), "dreaming, portraits of portrait" April (China, Shanghai east gallery), may "amplification, new media art in China" (Beijing university of China), July "image device associated with your exhibition" (China), tianjin, cultural practice space, "the first independent north images show" July keep cool new media space) (China, Beijing, September "changchun international independent images show" (long spring, northeast normal university of China), September "changchun annual invitational exhibition of contemporary art" (far east gallery in changchun, China), September "three years of the first China art exhibition" (China), guangzhou art museum, in September "art fair in Melbourne Melbourne (Australia)," September "Paris, Beijing" (Paris), October "guangzhou art triennale" (China), guangzhou art gallery, October image biennale "Israel" (tel aviv), October "landscape spirit" huangyan solo exhibition (China) European art center in xiamen, the start and curator People zhaoshul cooperation in some of China's urban public space, university image art festival.


    In January 2003, 37, to participate in the "image of China huangyan solo exhibition" (New York, USA), January to image art "in" the Israeli embassy (Beijing, China), "fair" in February (China) Beijing shangri-la art commune, march "pd measurement, video art festival" in shenzhen (China) in shenzhen, "polish international video art festival" in April (Warsaw), "the Italian international video art festival" in May (Rome, Italy), may the extension and breakthrough "TaoYiZhan (China guangdong museum of art), June" Prague biennale "(Prague in the Czech republic), July paradise" phantom "exhibition (Prague in the Czech republic)," the fourth China international performance art festival "in September (changchun, China), September" through China international video art festival "(in Beijing, changchun, Harbin and other places)," China, Israel, video art exhibition "in September (Israel embassy in China), October" Brazil SAN bao image biennale "(Sao Paulo), December huangyan scenic story solo exhibition red gate gallery (Beijing, China).


    In January 2003, 37, to participate in the "image of China huangyan solo exhibition" (New York, USA), January to image art "in" the Israeli embassy (Beijing, China), "fair" in February (China) Beijing shangri-la art commune, march "pd measurement, video art festival" in shenzhen (China) in shenzhen, "polish international video art festival" in April (Warsaw), "the Italian international video art festival" in May (Rome, Italy), may the extension and breakthrough "TaoYiZhan (China guangdong museum of art), June" Prague biennale "(Prague in the Czech republic), July paradise" phantom "exhibition (Prague in the Czech republic)," the fourth China international performance art festival "in September (changchun, China), September" through China international video art festival "(in Beijing, changchun, Harbin and other places)," China, Israel, video art exhibition "in September (Israel embassy in China), October" Brazil SAN bao image biennale "(Sao Paulo), December huangyan scenic story solo exhibition red gate gallery (Beijing, China).

 

    In January 2004, 38, to participate in the "Chinese art now generation" MARELLA gallery (milan, Italy), Bologna art fair in February (Bologna, Italy), April to "China" in marseille museum of modern art, may "between the past and the future - to new photography and video from China" international center of photography and the Asia society, New York, USA, may "Asian factory") (Bologna's museum of modern art and may "between past and future: new photography and video from China" international center of photography and the Asia society, New York, USA.


    In March 2005, 39 years old, to participate in "metaphors and mirror" Beijing new art Beijing 798 plan, the British contemporary huangyan solo exhibition in May London, may art museum collection show, "" Margaret spellings igg Bern in Switzerland," work "Beijing commuter college May 798 in Beijing," critical - 0 factory "in May 798 Beijing studio (lee), July" enlightenment "huangyan solo exhibition red gate gallery (Beijing)," construct fable "exhibition in August (0, 9 month" porcelain "lee studio 798 Beijing exhibition (hamas' Derby contemporary art center, Beijing 798), December 'on both ends of the world of contemporary experimental art design exhibition, (he xiangning art museum, shenzhen), December after" calligraphy "exhibition center for contemporary art (hamas' Derby 798 Beijing), founded in henan linzhou ink art museum in Lin, Lin international forest of steles museum of art.


    In February 2006, 40 years old, to participate in the "zen painting" huangyan solo exhibition 798 hamas' Derby center for contemporary art (Beijing), march after "electronic image" exhibition center for contemporary art (hamas' Derby 798 Beijing), April "photography family - I am, father, son, three generations of photography exhibition" (hamas' Derby center for contemporary art Beijing), may "borderless pause" sculpture exhibition (hamas' Derby center for contemporary art Beijing 798 0, 5 months 'enemy at the gate - China/open the architectural art, (706 east space, Beijing, China), on the edge of the "Chinese" may come from Shanghai, Beijing's new video art, an anthology film archive, New York, - "ruins" exhibition art center, Chicago, July Huangyan solo In August 798 Cheng Xin east international art studio in Beijing, crossing the contemporary ink painting Tianjin academy of fine arts gallery, in August Northeast China contemporary art, art gallery, guangdong), September "feng shui" art activities in Shanghai (Shanghai zendai museum hall between nine villa, the northeast contemporary art Guangdong museum of art), oct Huangyan solo exhibition (VIPS in the Netherlands international art gallery)


    In February 2007, 41 years old, to participate in "huangyan solo exhibition" (the Caribbean Hotel Eden Rock, Saint Barth Island), February, "we are dominant in the future, the second Moscow biennale", (Russia, march Madrid ARTIUM contemporary exhibition), may "yellow rock solo exhibition" (house of emperor city art In June in Beijing, China), "new ceramic art in China" (Helsinki, Finland, national gallery), "Venice biennale P.P.P behavior - paper - plan" (Venice), July 1 - huangyan solo exhibition "roaming" (Shanghai zhu Qi deep art museum Shanghai, China), July "Chinese contemporary art on the basis of the visual and performance method" (Rome, Italy),


    On September 2 - huangyan solo exhibition "roaming" (Open to achieve art center), September 3 - huangyan solo exhibition "roaming" Derby center for contemporary art (hamas), September 1 - "made in Beijing academic guo-hong han yi university's museum of modern art exhibition" (guo-hong han yi) university's museum of modern art, in September "BS1 contemporary art museum in Beijing 2007 art exhibition of nomination" (zhu qizhan art museum in Shanghai Beijing imperial city art museum), October "Beijing manufacturing 2" (Shanghai duolun modern art museum), November 21 plan exhibition "the humanity" contemporary artist songzhuang (Beijing), December "day line - the forefront of Chinese contemporary art exhibition" (Asia art center Beijing)


    In March 2008, 42, to participate in "human art" (piedmont art center in the United States "Gothic invasion in March) in the United States, and can't named" proposition (gallery), march "mutual involvement horizon - Chinese contemporary art exhibition of frontier" (Shanghai duolun of modern art Shanghai, China), march "in the world quality" (huangyan center for contemporary art In April in Beijing, China), "free China" (foundation in lugano, Switzerland, Switzerland), may "China...!" (Moscow TSUM department store building Moscow), June 4 - huangyan solo exhibition "roaming" (zhu qizhan art museum in Shanghai Shanghai, China), June "zodiac - huangyan oil painting exhibition" (three is art. Beijing space), June "2008 art Paris" (Paris palace in Paris, France), July "logic limited - Chinese contemporary art" (798 root is art in Beijing, China), July "version - changchun new art movement in the 1980 s" (zhu qizhan art museum in Shanghai Shanghai, China), July 5 - huangyan solo exhibition "roaming" (hamas' Derby center for contemporary art Beijing, China), August logo contemporary art exhibition of "I" (the museum of contemporary art in Asia In August in Beijing, China), the appearance of "derivative" (v ink space In September in Beijing, China), named "BS1 contemporary art museum in Beijing 2008 art exhibition" (the museum of contemporary art in Asia Beijing, China),


    September "two endpoints - 2008 Chinese contemporary art" (FuLi Isaac palace torme zhou city to Italy), September "! We - thirty years of contemporary Chinese art "(the national grand theater in Beijing, China)," DaSuDaYa "in September 798 Beijing China (underground)," Shanghai art fair in September in Shanghai, China (Shanghai mart), September "empty city" (the original arch gallery Shanghai, China), September "substitute stealthily" (he xiangning art museum, shenzhen), September "body" of the reincarnation of the body/cross-border (Germany Berlin Tope art center Berlin, Germany), September "busan biennale" (South Korea), "October 4th China songzhuang, culture and art festival Songzhuang "(Beijing, China), October" art charity - 2008 China international exhibition of contemporary art in China "(central academy of fine arts gallery Japan's east art museum Hong Kong exhibition center). December "semiotics ink in 2008, the first time" (hamas' Derby contemporary art center in Beijing, China), December "misrepresentation - huangyan solo exhibition" (the museum of contemporary art in Asia Beijing, China).


    In 2009, 43, participate in January "huangyan solo exhibition" (michelle Mosko art galleries Denver), jan "body art" (foundation art center In January), Colorado springs "chongqing Jue huang ping arts festival" (in chongqing 501 contemporary art museum in chongqing, China), "the first YanGeBai international arts festival" (September YanGeBai museum of modern art China chengde), 12 months after the "literati" (hamas' Derby contemporary art center "in Beijing, China)," the Chinese ink painting biennale "December (Shanghai duolun museum of Beijing, Shanghai, China, etc. 8 to tour in Lin), turning to the research on the history of contemporary Chinese ink painting, and rediscover the western art history in the 20th century, with the construction of a new Chinese ink painting idea, put forward" after the literati art ".


    In March 2010, 44 years old, to participate in the "Chinese art" (New York, USA), "2" literati after march (New York, USA ETHAN COHEN art center), may "Sweden behavior arts festival" (Stockholm, Sweden, national gallery), may "night at the museum in Paris" (Paris, France, Denmark art center), June "northern Germany 2010 international arts festival" (Peter, much of Germany), "the second YanGeBai international arts festival" (in July YanGeBai museum of modern art August '798 China chengde), multimedia arts festival "(China Beijing 798 creative square), August" caochangdi biennale "caochangdi art gallery (Beijing, China), on September the 11th open international performance art festival" (798) creative square, October "huangyan retrospective" in the 2005-2010 (Hong Kong arts centre), December planning "from the new ink painting of China" (Miami).


    In 2011. 45 years old, may participate in "calligraphy NO. 1 group exhibitions" (Shanghai duolun modern art museum), may "ink NO. 1 group exhibitions" ink painting art museum (Shanghai), may "a: rongbaozhai auction" exhibition in China (Beijing, China). "July 10 cases of new Chinese ink painting in the 21st century" (Shanghai duolun modern art museum), ink was established in Shanghai art museum, 800 art magazine published, began to promote the contemporary Chinese ink painting, made a series of Chinese literati art and western hard edges in combination with new ink painting activities.


    In February 2012, 46, "China's first international ink painting biennale" (shenzhen dafen art museum), jiangshan picturesque - huangyan's solo exhibition in May (Beijing DE yi's art life space), in September the first international peace and friendship art festival "in Lin (henan linzhou)," China steel diao international art festival "in September (beidaihe), October" childhood sweethearts art exhibition "(Shanghai lion gallery)," new "Noah's ark in December (Beijing DE yi's art life space), put forward the" art ", "art" and other new art concept, and done a lot of new artistic experiment.


    In April 2013, 47, attend the second ink painting biennale "in Lin (henan linzhou), April first exhibition of" new Beijing Shanghai (Shanghai Yang art space), April "new Beijing" exhibition in Shanghai, Shanghai art museum), April "ink and the garden of Eden" (Shanghai li garden), June "2013" and "new Beijing contemporary ink painting exhibition in Beijing" (Beijing's art collection), June, "the China Great Wall international contemporary art biennale", "pasture art movement" September pasture gallery (Beijing), in September the second international peace and friendship art festival "in Lin (henan linzhou), October the first time in the" ten ink white temple "(songzhuang white temple), October the second time the chaobai river" "ten ink (songzhuang), November the 1st China device biennale" contemporary art gallery (Beijing), "China YuYuan modern ink painting art festival" in November (zhejiang Jiang Yu source), December "ink painting, contemporary China's past is now" (the metropolitan museum of art in New York, USA), December the first "new Beijing art biennale" new Beijing art gallery (Beijing), the new Beijing officially named after a year, in the course of a year in Beijing, Shanghai, shandong, henan, zhejiang and other places plan implemented a series of different from the western industrial ink painting exhibition of art and art activities.


    黄岩在 20 世纪末,21 世纪初中国当代艺术运动中,在几个领域的交汇点上,都有他的痕迹,成为许多艺术领域的拓荒者。 像观念摄影,交互艺术、行为艺术,油画、雕塑、纪录片、装置等等。黄岩作为新京派的领军人物,早在 1978 年就拜长春的艺 术家王淮学习传统山水画、花鸟画、人物画,1979 年至 1981 年,学习四王和文革名家,如钱松喦、宋文治,1981 年黄岩运用 拓墨法创造了一批墨绘山水作品,并开始受西方现代思潮的影响参加 85 新潮美术运动,长春这时一个重要的艺术事件是发明了 一种新的版画成像系统——《泥版画》,这场发生在 20 世纪 80 年代长春的新版画艺术运动,彻底的改写了中国建立在西方启 蒙艺术基础上的艺术运动方向,是中国后文人艺术最早落地,具有里程碑意义的艺术革新。请记住这些新版画艺术运动的艺术 家名字:王长百、黄岩、路明、关大我、王力、朱方、张喜忠、赵勃等等,最典型的方式是泥版、油拓、水拓,这给了中国新 绘画一个技术层面的承载,其学术标志是 1988 年 4 月在中国长春东北师范大学美术馆举办的《版象艺术展》,其中事件之一是 黄岩将盲人领进展厅,它解决了 20 世纪 80 年代中国先锋艺术整体上对西方后现代主义艺术的期待,展览涉及语言学、符号学、 人类学、日常生活、大地艺术、行为、观念、场域、整体艺术、城市、反命名,这一展览在方法论上为后来中国绘画,中国新 艺术运动勾画了一个轮廓,是中国文人艺术结合美国工业艺术在中国落地的一个范例。


    90 年代黄岩在长春单枪匹马的制造了邮件艺术,黄岩在 90 年代以长春城市为根据地,以实物拓印的方式,以邮寄的方式 研究长春城市系统的社会变迁,长春的半径成为黄岩观念艺术,整体艺术的一个地理概念。自中国改革开放以来,以艺术的名 义对一个城市系统地进行艺术研究这是第一个案例。它不同于西方的邮寄艺术与一般的观念艺术,是一次中国本土化的中国艺 术制造的混搭。他这两件作品的内容涉及社会事件、新闻、笔记、工作、生活、性别、社会的方方面面,还是在这一时间段, 1998 年 10 月黄岩在长春工业大学策划了中国第一个新媒体艺术“0431.1998 录像、电脑艺术展”,开了中国新媒体艺术的先河。

 

    2000 年以后,黄岩来到北京,入驻中国第一个由厂房改造的艺术区——香格里拉艺术公社,随后入驻 798 艺术区和宋庄艺术区。 在 798 艺术区成立了艺术非盈利机构玛斯德比艺术中心,做了一系列关于城市亚文化的艺术活动和艺术展,如“独生一代展”、 “涂鸦艺术周”、“动漫艺术在中国”、苏非舒的“一吨诗”等。2000 年 10 月在北大在线实施了中国第一个网络交互艺术展—— “第三性艺术展”,2004 年在草场地艺术区策划了《@ 车艺术活动》,环铁亚洲艺术公社举办了“极限写作”艺术活动等等。 2000 年以后,黄岩的影像作品参加了一系列代表中国的国际性大展,最知名的是将山水图形画在人的身体上的影像作品。 中国古代天人合一的文人艺术第一次和人的主体合二为一,在当代艺术层面,黄岩完成了一次主客体的混搭,这是黄岩对工业 艺术的修正,黄岩这一作品始于 1994 年,他将山水画画在自己的脸上。


    2008 年以后,黄岩关注艺术的绘画系统、书写系统,开始在符号学层面与西方当代艺术对接,做了“国画研究系列”、“指 印系列”。黄岩将传统文人画的美学拆解成点和线、用乱线、点(指印)模仿梅兰竹菊,传统文人艺术中的人物画、山水画、 花鸟画的细节都蒙上了概念的色彩,2009 年在中国林州举办的第一届林州水墨双年展上,黄岩提出了“后文人艺术”的概念, 这一展览是中国 30 年现当代水墨艺术的一次学术路线图。2010 年以后,黄岩在上海多伦现代美术馆举办的 10 个水墨个案艺术 展上,将多伦美术馆做成水墨实验室,进行了一系列现场展示的实验,黄岩将现场的温度、湿度对画的影响作为一个重要的指标, 包括力量、重量等等被西方艺术史忽略的因素作为影响艺术的重要方式,这可以看作是“量艺术“的开始,“变量艺术”的开始。 随后在上海 800 美术馆,上海水墨艺术博物馆,黄岩和胡又笨、邵岩、张朝晖、成浦云、任芷田、张铁梅、大相、韩伟华做了 一系列的水墨艺术实验,这些实验涉及到食物,建筑材料等大量的生活用品,开使用量化的方式记录作品的生产方式与呈现方式, 自然的光、风、雨直接用于作品的呈现,这一方式在 2012 年深圳举办的国际水墨双年展达到一次整体爆发,像黄岩用砂纸涂墨, 晒宣纸的作品等等。这次展览是”变量艺术“的一次整体亮相,是中国文人艺术与西方硬边艺术、工业艺术结合,混搭的一个 案例。黄岩 2012 年 12 月在德易家艺术生活空间也做了砂纸涂墨系列、晒纸系列,黄岩的作品反复强调在时间、力量作用下艺 术作品的变量,如在一个皮筋上面书写的字,随着力量的不同,每一个字都存在着变量,这是一次社会书写与科学直接的对话, 黄岩甚至将在德易家艺术生活空间每天吃的食物都作为影响他作品的一个因素,这种来自日常身体有关的艺术变量,是中西艺 术美学混搭的具体案例。

 

    2012 年 4 月份,在林州举办的“第二届林州水墨双年展”上黄岩提出了“地景水墨”概念,是“变量艺术”对中国古代文 人借景的一个发挥,也将中国水墨艺术上升到地景艺术的一个大的范畴,并制造了中国书法之外的另一种水墨造景,这既是传 统的,又是传统文人艺术所不具有的一种艺术道场,从新水墨、新山林到德易家艺术生活空间的新水墨、新城市、新生活方式 以城市家居为背景,完成了当代水墨实验两个方向上的突围。自然与人工城市内部艺术结构的突围,山林是借景,城市是隐藏, 一露一藏,传统文人艺术,在这样的实验中完成了整体上的突围。


    黄岩总结自己变量艺术的三个结点,一是“身体水墨”,二是“拉链绘画”,三是“皮筋山水”。这也成为中国“后文人艺术”、“个 人定制艺术”、“个人消费艺术”方法论的具体案例。1995 年黄岩创作了拉链山水架上作品,这张画在油画布上的传统山水画, 黄岩采取手卷的方式,这张画的革命性在于黄岩将绘画的观看方式作为艺术的主体,而不是绘画本身。他在绘画中发现的藏露 是典型的中国方式,古代手卷的观看方式,不过黄岩是运用美国硬边艺术的方法去呈现,黄岩在单色的黑画面中用拉链的方式 隐藏着内容丰富的中国山水图式或中国书法,这种形式主义的无中生有、有中归无的绘画,一方面使绘画获得了运动影像的呈 现效果,使静象变成了动象,另外它的意义主要不是界定这件作品的两维特征或者三维特征,也不是他的中西美学相融的哲学 背景,而是艺术的主体由绘者向观者的转移,黄岩在绘画中是一个导演,每一个观众才是演员,每一个观者的观看都是作品的 一部分,观者不是被动的观看,观看本身是作品的本质。黄岩在信息时代用一种最原始的方式超越了美国的硬边艺术。从 1994 年的身体水墨到 1995 年的拉链山水,再到 2009 年的皮筋山水“皮筋水墨”,黄岩完成了新京派艺术美学的三级跳,身体水墨 提供了一种新的艺术主客体的再现方式,拉链山水将艺术的主体位移,提供了安迪·沃霍尔之后消费艺术的一种新的可能性。 皮筋艺术又回到了艺术的本体,不过这种绘画尺寸可变的结果,皮筋的伸缩性将绘画的图形变成可流变的图形,每一次展出一 幅作品可呈现不同的尺寸展示效果,并相应的改变了图形呈现效果。这提供了丰塔纳之后西方平面艺术突围的一个路线图,这 是黄岩建立的后文人艺术系统理论在实验中的具体案例,这是在互联网背景下黄岩用架上绘画材料完成艺术突围的学术路线图, 也是黄岩提出微艺术、量艺术的自我实验的学术路线图。

 

    Huangyan at the end of the 20th century, the early 21st century Chinese contemporary art movement, in several areas of intersection, has his traces, as many of the pioneers in the field of art. As conceptual photography, interactive art, behavior art, painting, sculpture, documentary, devices, and so on. Huangyan as the leading character in the new Beijing, changchun, as early as in 1978, they worshiped the art Home Wang Huai learning traditional landscape painting, flower and-bird painting, figure painting, from 1979 to 1981, study four king and masters of the cultural revolution, such as Qian Song rock, Song Wenzhi, huangyan using extension, many 1981 created a batch of ink painting landscape works, and influenced by the thoughts of modern western to participate in the 85 trendy art movement, changchun, then an important art event is invented a new print imaging system, the mud prints, which the changchun new print art movement in the 1980 s, completely changed the established in western and Chinese art on the basis of art movement direction, is the Chinese literati art after the first landing, the landmark of artistic innovation. Remember these new print art movement of the artist name: wang long hundred, huangyan, LuMing, shut me, wang li, Zhu Fang, xi-zhong zhang, Zhao Bo, etc., is the most typical way of mud, oil company, water company, giving the new Chinese painting a bearing on the level of technology, its academic mark is in northeast normal university in changchun, China, April 1988 "edition as art gallery, one of the events is huangyan will be brought into the exhibition hall for the blind, it solved the Chinese vanguard art overall in the 1980 s the anticipation that the western postmodern art, exhibition related to linguistics, semiotics, anthropology, daily life, the earth art, behavior, concepts, field, the overall art, city, the naming, the exhibition on the methodology for the later, Chinese painting, Chinese new art movement sketch an outline, is Chinese literati art combined with an example of the use of the industrial art in China fall to the ground.

   

     90 s huangyan in changchun single-handedly created the mail art, huangyan is home in changchun city, in the 90 s, in the form of physical rubbing research in changchun city in the form of mail system of social change, the radius of the changchun into huangyan concept art, a geographical concept of art as a whole. Since China's reform and opening up, with the name of art righteousness to a city systematically art study this is the first case. It is different from the western mail art and general idea of art, is a Chinese localization of the art manufacturing mashup. He this two pieces of content involved in social events, news and notes, all aspects of the work and life, gender, social, or in this time period, in October 1998, huangyan in changchun university of technology planning for China's first new media art "0431.1998 video, computer art exhibition", opened the first of China's new media art.


    After 2000, huangyan came to Beijing, in China's first by the building art district - shangri-la art commune, songzhuang art district in 798 art district and subsequently. Founded in 798 art district arts non-profit organization's Derby art center, made a series of urban subculture of art activities and art, such as "one-child generation exhibition", "graffiti art week", "anime art" in China, sufi shu "a ton of poetry", etc. In October 2000 in Peking University launched China's first online network interactive art - the "third sex art exhibition", caochangdi art district planning in 2004 @ car art activities, iron ring held Asian art commune "extreme writing" art activities, and so on. 2000 years later, the image of huangyan attended a series of works on behalf of the Chinese international exhibition, is one of the most famous landscape graphic painting on the person's body image. The unity of nature and literati art in ancient China for the first time, and the body of the people together, in the contemporary art level, huangyan completed a mix of subject and object, this is huangyan correction of industrial arts, huangyan this work began in 1994, the landscape painting in his face.


    After 2008, huangyan focus on art of painting, writing system, began to dock with the western contemporary art semiotics, made "the traditional Chinese painting study series", "refers to the series". Huangyan traditional literati painting aesthetic apart into points and lines, with disorderly line and point (fingerprint) imitate chrysanthemum patterns, traditional literati art of figure painting, landscape painting, flower and-bird painting details are on the color of the concept of linzhou in China in 2009 at the first session of ink painting biennale in Lin, huangyan, puts forward the concept of "literati art" after the show China's 30 years of modern and contemporary ink painting academic line at a time. After 2010, huangyan in modern Shanghai duolun museum of 10 cases ink art show, duolun museum of art to make ink lab, conducted a series of field experiments show, huangyan will be the scene of the influence of temperature and humidity on the painting as an important index, including strength, weight and so on are affected by factors of western art history to ignore as the important way of art, it can be seen as a "mass art" in the beginning, the beginning of the art of "variables". Later in 800 Shanghai art museum, Shanghai art museum, huangyan and hu and bulky, Shao Yan, zhang zhaohui, ChengPuYun Ren Zhitian, tie-mei zhang, and, wei-hua han made a series of ink painting experiment, these experiments involving food, building materials and so on a large number of articles for daily use, open to use quantitative way to record the work mode of production and presentation, natural light, wind, rain directly used in the present work, the way in 2012, shenzhen international ink painting biennale held to reach a whole eruption, like the huangyan sand coated ink, sun paper works, and so on. The exhibition is "variable art" an overall appearance, is China's literati art with western hard edges, industrial art, a case of mashup. Huangyan in December 2012 in living space also did sandpaper DE yi's art paint ink series, sun paper series, huangyan work repeatedly under the effect of time, strength, art works of variables, such as a word written on the elastic, as the power is different, every word there is variable, it is a social and scientific writing direct dialogue, huangyan and even the life space in DE yi's art every day to eat food as influence a factor in his works, the art from daily body related variables, is the art of Chinese and western aesthetics, mix the specific case.

 

    In April 2012, held in linzhou "second ink painting biennale" in Lin in huangyan put forward the concept of "landscape painting with", is a "variable art" of the ancient Chinese people borrow scene in a play, will the Chinese ink painting to rise to a large category of landscape art, and made another landscape painting with Chinese calligraphy, which is both traditional and traditional literati art does not have a dojo, the new ink painting, new living space of the mountain to DE yi's art new ink painting, the new city, the new way of life Against the background of urban household, completed the contemporary ink painting experiment both directions to break. Natural and artificial urban internal structure to break, mountain forest is borrow scene, cities can be hidden, a dew Tibetan, traditional literati art, in such experiments completed the breakthrough on the whole.


    Huangyan to summarize variables are the three nodes of art, one is the "ink painting", the second is "zipper painting," three is "string" landscape ". It also become China's "after the literati art", "custom art", "art of personal consumption" methodology of specific case. Huangyan created zipper landscape frame works in 1995, the painting on the canvas of the traditional landscape painting, huangyan manuscripts, the picture of the revolutionary is to huangyan will watch painting form as the main body of art, rather than the painting itself. He found hidden in the painting is typical of the Chinese way, ancient folios way of watching, but huangyan is the method that USES the hard edge art to present, huangyan in monochrome black screen in the way zipper hidden content rich Chinese landscape pattern or Chinese calligraphy, the formalism of out of nothing, have no in painting, on the one hand, the moving images, painting is now effect, make static like the like, and it not primarily defines the meaning of the work of two dimensional or three dimensional characteristics, nor his aesthetic harmony of Chinese and western philosophy background, but the main body of art from the painting to the transfer of the viewer, huangyan is a director in the painting, each audience is the actor, every viewer to watch are part of the works, the viewer is not passive watch, watch is the nature of the work itself. Huangyan in the information era in one of the most primitive way beyond the hard edge of art in the United States. Body ink painting from 1994 to 1995 in zipper landscape, to the string "landscape" string "ink" in 2009, huangyan completed a new Beijing art aesthetic triple jump, body ink provides a new way of art subject and object representation, zipper displacement of the main body of landscape art, provides the Andy warhol after consumption of art a new possibility. Elastic art goes back to the ontology of art, but this painting size variable as a result, the elastic scalability drawing graphics into rheological graphics, every display show the size of the picture can present different effects, and the corresponding change the graphics rendering. This provides fontana after western graphic arts to break a roadmap, after it is established in huangyan literati art system theory in the specific case of the experiment, it is under the background of Internet huangyan complete artistic breakthrough academic road map with easel painting materials, and huangyan proposed micro amount of art, art of self academic roadmap to experiment

 

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